The most recent project 2020 is our cat series- 52 cat books in all genres and all sizes (including miniature books with short stories). One book every week beginning with March 2020. The series bestseller: Loving Reaper (author and artist Jenny Jinya), a comic that sold more than 2000 during the first 4 weeks. Read the comic online for free!
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Agence Ć©ditoriale depuis 2009. Cette maison gĆ©nĆ©raliste, ouverte sur le monde, se distingue par sa connaissance de la Russie et de ses talents contemporains. Son objectif est de proposer aux lecteurs des ouvrages variĆ©s, parfois surprenants qui, chacun Ć leur maniĆØre, invitent Ć dĆ©couvrir des univers, une partie de soi-mĆŖme, ou simplement Ć se divertir.
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The Orientalism debate, inspired by the work of Edward Said, has been a major source of cross-disciplinary controversy in recent years. John MacKenzie offers a comprehensive re-evaluation of this vast literature of Orientalism and brings to the subject highly original historical perspectives. The study provides the first major discussion of Orientalism by a historian of imperialism. Setting the analysis within the context of conflicting scholarly interpretations, John MacKenzie then carries the discussion into wholly new areas, testing the notion that the western arts received genuine inspiration from the East by examining the visual arts, architecture, design, music and theatre. John MacKenzie concludes that western approaches to the Orient have been much more ambiguous and genuinely interactive then Said allowed. The artistic construction of the East by the West has invariably been achieved through a greater spirit of respect and in search of a truly syncretic culture. The Orient has indeed proved an inspiration to the European arts, even when caught in the web of imperial power relations.
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The new activity of trans-continental civil flying in the 1930s is a useful vantage point for viewing the extension of British imperial attitudes and practices. Cultures and caricatures of British imperial aviation examines the experiences of those (mostly men) who flew solo or with a companion (racing or for leisure), who were airline passengers (doing colonial administration, business or research), or who flew as civilian air and ground crews. For airborne elites, flying was a modern and often enviable way of managing, using and experiencing empire. On the ground, aviation was a device for asserting old empire: adventure and modernity were accompanied by supremacism. At the time, however, British civil imperial flying was presented romantically in books, magazines and exhibitions. Eighty years on, imperial flying is still remembered, reproduced and re-enacted in caricature. ;
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Exhibiting the empire considers how a whole range of cultural products - from paintings, prints, photographs, panoramas and 'popular' texts to ephemera, newspapers and the press, theatre and music, exhibitions, institutions and architecture - were used to record, celebrate and question the development of the British Empire. It represents a significant and original contribution to our understanding of the relationship between culture and empire. Written by leading scholars from a range of disciplinary backgrounds, individual chapters bring fresh perspectives to the interpretation of media, material culture and display, and their interaction with history. Taken together, this collection suggests that the history of empire needs to be, in part at least, a history of display and of reception. This book will be essential reading for scholars and students interested in British history, the history of empire, art history and the history of museums and collecting. ;
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Exhibiting the empire considers how a whole range of cultural products - from paintings, prints, photographs, panoramas and 'popular' texts to ephemera, newspapers and the press, theatre and music, exhibitions, institutions and architecture - were used to record, celebrate and question the development of the British Empire. It represents a significant and original contribution to our understanding of the relationship between culture and empire. Written by leading scholars from a range of disciplinary backgrounds, individual chapters bring fresh perspectives to the interpretation of media, material culture and display, and their interaction with history. Taken together, this collection suggests that the history of empire needs to be, in part at least, a history of display and of reception. This book will be essential reading for scholars and students interested in British history, the history of empire, art history and the history of museums and collecting.
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This is the first book to survey in comparative form the transmission of imperial ideas to the public in six European countries in the nineteenth and twentieth centuries. The chapters, focusing on France, Britain, the Netherlands, Belgium, Germany and Italy, provide parallel studies of the manner in which colonial ambitions and events in the respective European empires were given wider popular visibility. The international group of contributors, who are all scholars working at the cutting edge of these fields, place their work in the context of governmental policies, the economic bases of imperial expansion, major events such as wars of conquest, the emergence of myths of heroic action in exotic contexts, religious and missionary impulses, as well as the new media which facilitated such popular dissemination. Among these media were the press, international exhibitions, popular literature, educational institutions and methods, ceremonies, church sermons and lectures, monuments, paintings and much else.
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This book is the first analysis of the dynamics of British press reporting of India and the attempts made by the British Government to manipulate press coverage as part of a strategy of imperial control. The press was an important forum for debate over the future of India and was used by significant groups within the political elite to advance their agendas. Focuses on a period which represented a critical transitional phase in the history of the Raj, witnessing the impact of the First World War, major constitutional reform initiatives, the tragedy of the Amritsar massacre, and the launching of Gandhi's mass movement. Asserts that the War was a watershed in official media manipulation and in the aftermath of the conflict the Government's previously informal and ad hoc attempts to shape press reporting were placed on a more formal basis. ;
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Europe's great colonial empires have long been a thing of the past, but the memories they generated are still all around us. They have left deep imprints on the different memory communities that were affected by the processes of establishing, running and dismantling these systems of imperial rule, and they are still vibrant and evocative today. This volume brings together a collection of innovative and fresh studies exploring different sites of imperial memory - those conceptual and real places where the memories of former colonial rulers and of former colonial subjects have crystallised into a lasting form. The volume explores how memory was built up, re-shaped and preserved across different empires, continents and centuries. It shows how it found concrete expression in stone and bronze, how it adhered to the stories that were told and retold about great individuals and how it was suppressed, denied and neglected. ;
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Engendering whiteness represents a comparative analysis of the complex interweaving of race, gender, social class and sexuality in defining the contours of white women's lives in Barbados and North Carolina during the era of slavery. Despite their gendered subordination, their social location within the dominant white group afforded all white women a range of privileges. Hence, their whiteness, as much as their gender, shaped these women's social identities and material realities. Engendering whiteness draws on a wide variety of sources including property deeds, wills and court transcripts, and interrogates the ways in which white women could be simultaneously socially positioned within plantation societies as both agents and as victims. It also reveals the strategies deployed by elite and poor white women in these societies to resist their gendered subordination, to challenge the ideological and social constraints that sought to restrict their lives to the private domestic sphere, to protect the limited rights afforded to them, to secure independent livelihoods and to create meaningful existences. ;
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The age of steam was the age of Britain's global maritime dominance, the age of enormous ocean liners and human mastery over the seas. The world seemed to shrink as timetabled shipping mapped out faster, more efficient and more reliable transoceanic networks. But what did this transport revolution look like at the other end of the line, at the edge of empire in the South Pacific? Through the historical example of the largest and most important regional maritime enterprise - the Union Steam Ship Company of New Zealand - Frances Steel eloquently charts the diverse and often conflicting interests, itineraries and experiences of commercial and political elites, common seamen and stewardesses, and Islander dock workers and passengers. Drawing on a variety of sources, including shipping company archives, imperial conference proceedings, diaries, newspapers and photographs, this book will appeal to cultural historians and geographers of British imperialism, scholars of transport and mobility studies, and historians of New Zealand and the Pacific. ;
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Emigration from Scotland has always been very high. However, emigration from Scotland between the wars surpassed all records; more people emigrated than were born, leading to an overall population decline. Why was it so many people left? Marjory Harper, whose knowledge is grounded in a deep understanding of the local records, maps out the many factors which worked together to cause this massive diaspora. After an opening section where the author sets the Scottish experience within the context of the rest of the British Isles, the book then divides the country geographically, starting with the Highlands, then coastal Scotland, and the urban Lowland highlighting in turn the factors that particularly influenced each of these areas. Harper then discusses the organised religious and political movements that encouraged emigration. By interweaving personal stories with statistical evidence Harper brings to life the reality behind the dramatic historical migration. ;
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Kenya's white settlers have been alternately celebrated and condemned, painted as romantic pioneers or hedonistic bed-hoppers or crude racists. The souls of white folk examines settlers not as caricatures, but as people inhabiting a unique historical moment. It takes seriously - though not uncritically - what settlers said, how they viewed themselves and their world. It argues that the settler soul was composed of a series of interlaced ideas: settlers equated civilisation with a (hard to define) whiteness; they were emotionally enriched through claims to paternalism and trusteeship over Africans; they felt themselves constantly threatened by Africans, by the state, and by the moral failures of other settlers; and they daily enacted their claims to supremacy through rituals of prestige, deference, humiliation and violence. The souls of white folk will appeal to those interested in the histories of Africa, colonialism, and race, and can be appreciated by scholars and students alike.
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Colonial war played a vital part in transforming the reputation of the military and placing it on a standing equal to that of the navy. The book is concerned with the interactive culture of colonial warfare, with the representation of the military in popular media at home, and how these images affected attitudes towards war itself and wider intellectual and institutional forces. It sets out to relate the changing image of the military to these fundamental facts. For the dominant people they were an atavistic form of war, shorn of guilt by Social Darwinian and racial ideas, and rendered less dangerous by the increasing technological gap between Europe and the world. Attempts to justify and understand war were naturally important to dominant people, for the extension of imperial power was seldom a peaceful process. The entertainment value of war in the British imperial experience does seem to have taken new and more intensive forms from roughly the middle of the nineteenth century. Themes such as the delusive seduction of martial music, the sketch of the music hall song, powerful mythic texts of popular imperialism, and heroic myths of empire are discussed extensively. The first important British war correspondent was William Howard Russell (1820-1907) of The Times, in the Crimea. The 1870s saw a dramatic change in the representation of the officer in British battle painting. Up to that point it was the officer's courage, tactical wisdom and social prestige that were put on display.
